The Magnificent Seven
Rarely have so many charismatic actors been used in a film that feels quite as soulless as Antoine Fuqua’s update of The Magnificent Seven.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
The fourth and final part in a series on the images of Islam in Western cinema.
Here is the full schedule for Ebertfest 2014.
An old friend and I reunited for the first time in 13 years in Washington, DC last month, and the talk eventually turned to Facebook, the primary way we've managed to keep in touch, at least recently. I have a particular trait, usually reserved for after a night out on the town, by which friends can easily identify the level of my joviality, when I post videos of classic rock songs. Despite my assertion that a certain amount of fastidiousness should be necessary when it comes to sharing links on Facebook, I tend to disregard my own advice and post widely popular songs by legendary bands, for which I apologized to my friend.
I saw "The Wiz" (1978) and I saw "Captain EO" (1986) and I never saw Michael Jackson the movie star. For the longest time, it seemed, he was supposed to grow up to become one, but it didn't happen that way. Not long after 1982's Thriller he began transforming into something almost unrecognizable, unphotographable -- something that allegedly had to do with Diana Ross, hyperbaric chambers and, perhaps, the Elephant Man's bones. Whether an illness or a form of self-mutilation, it was a shame. The appealingly handsome young man on the cover of Off the Wall and Thriller morphed (as in the famous "Black or White" video) into a synthetic science-fiction construction that could only have inhabited an artificial universe like those of his two best-known big-screen appearances. He still worked for large crowds on stage, but -- for cosmetic and psychological reasons we may never understand -- close ups came to seem like a very bad idea.
As alien and unreal as he presented himself by the mid-1980s, the one thing that seemed genuine about him was his damage. His music became as polished and mask-like as his visage, and equally devoid of mature emotion. It may have been pop music for theme parks, but it wasn't for adults -- and he didn't seem to want to be thought of as one.